(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Biodiversity Heritage Library | Children's Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Master instructor for the tenor-banjo"

tftgftt 



:: -: 
















sSaBa 



m 



mm 

;■"'''•■• 



SB 






r£~ 



cW %irt*90- 



t 




^ 



Digitized by the Internet Archive 

in 2013 



http://archive.org/details/masterinstructorOOIans 



w^^fi 1 ! 



MASTER 
INSTRUCTOR 



FOR THE 



Tenor -Banjo 



BY 



GEO. L LANSING 



WHITE-SMITH MUSIC PUBLISHING CO. 

Boston New York Chicago 

Copyright, 1920, by White-Smith Music Publishing Co. 



5T 



5^ 






Foreword 



■^Mo- 



The Tenor- Banjo is the outcome of much, experimenting 
by dance orchestra players. 

Unlike the Mandolin -Banjo it retains the characteristic 
Banjo tone quality and by the system of tuning it becomes much 
easier to play than the regular five string Banjo. 

In this work the author has endeavored to present the lat- 
est system of stroking as used by the leading orchestra players, 
thus preserving the proper accentuation which is absolutely es- 
sential in the rendition of the dance music of the present day. 

The signs used to denote the strokes are those given in the 
latest authentic methods for all plectral instruments. 

G.L.LANSING 



15324 - 64 



■J 



ELEMENTS OF MUSIC. 



The principal characters used to express music are NOTES, which represent musical sounds,and RESTS, 
which represent silence. 

These chararacters are written upon the STAFF, a union of 5 lines and the 4 spaces between. 



THE STAFF. 

; 5 



Lines. 



Spaces. a 



NOTES AND RESTS. 



The different kinds and their names. 



NOTES. 



Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty - second note. Sixty - fourth note . 



P^P 



IS*: 



RESTS. 



Whole note Half note Quarter note Eighth note Sixteenth note Thirty - second note Sixty- fourth note 
rest. rest. rest. rest. rest. rest. rest. 



m 



m 



Table showing the relative time- value of notes. 



A Whole note is equal 
in time- value to 
2 Half notes 

or 
4 Quarter notes 

or 
8 Ei^th notes 

or 
18 Sixteenth notes 

or 
32 Thirty-second notes . . 



-©- 



T 



r 



r 



z=s 



*-+~r 







(or 64 Sixty-fourth notes.) 



The same rule applies also to the Rests. 



g— t. 



Kt.ar, _<j; 



DOTTED NOTES AND RESTS. 



A Dot after a note or rest increases the time-value one half. 

Dotted Notes and Rests and their Equivalents. 

A dotted Whole Note or Best A dotted Half Note or Rest A dotted Quarter Note or Rest 



A 



zss: 



? 



is equal to 3 Half Notes or Rests. 

- J J J 



is equal to 3 Quarter Notes or Rests. 

J J J 



is equal to 3 Eighth Notes or. Rests. 



J^^ 



-+ 



k 



i i * 



A dotted Eighth Note or Rest 



A dotted Sixteenth Note or Rest A dotted Thirty -seeoiid Note or Rest 

i 



w 



% 



m 



is equal to 3 Sixteenth Notes orResfa, isequalto 3 Thirty-second Notes or Rests 



I 



I ? f 



w 



is equal to 3 Sixty- fourth Notes or Rests 



LJ 



i 



1 —t—? 



A second dot after a note or rest adds to the time- value of the note or rest, one half the value of the first dot. 
Thus a douhle- dotted Half Note(J-) is equal to 3 Quarter Notes and 1 Eighth Note ( J_JjJ_«r)), and a double- 
dotted Quarter Note ( J" ) to 3 Eighth Notes and 1 Sixteenth Note( J> J> j^ ) and so on. Douhle dotted Rests have 
the same relative time- values as corresponding notes. v ~' 

THE CLEF. 

The CLEF is a character usually placed at the beginning of the Staff to indicate the Musical Pitch of the notes 
ivritten thereon. 

/ For all the higher instruments such as the FLUTE, VIOLIN, OBOE, CLARINET, CORNET, HORN, GUITAR, MAN- 
DOLIN and also the BANJO, FLAGEOLET, FIFE, CONCERTINA, ACCORDEON and some others, a Clef called the G 
Clef is used. It fixes the tone Coupon the 3d line of the Staff. 



G 



G Clef. 



-©- 



or Treble Clef. 



For instruments of a lower compass such as the VIOLONCELLO, DOUBLE BASS, BASSOON, TROMBONE, TUBA 



and others, a Clef eaUed the F Clef is used. It fixes F upon the 4th line of the Staff. 



F 



F Clef. =§ 



gir~o 



=or Bass Clef. 



A Clef called the C Clef is used especially for the VIOLA and fixes C upon the middle line of the Staff. 

AI.XO CLEF. TESOR CLEF. TREBLE CLEF. BASS CLEF. 



This is called the Alto Clef . When placed 

Clef. CGlef.jg- 



on the 4th line it is called the Tenor 



i± 



Same pitch af 



i 



$ 



or 



m 



In Music forthe ViolrineriHtD, Bassoon and some others, several of these clefs are sometimes used. 

8WS5-94 



Music for the PIANO, ORGAN and flARP requires the use of both the G and the F Clefs, which are placed on sep- 
arate Staves connected by what is called a BRACE. 



EX. 



g 



TIME, MEASURE & BAR. 

There are three kinds of Time, viz: _ Common,Triple & Compound Time. 
Examples of Common Time. - Examples of Triple Time. * Examples of Compound Time. 

4 2 *' -2 3 3 3. 6. 9. 12 6 



C or 4' 4' <P or f 4 2 ' 8' 8' .8' 8 4 

The lower of the two figures indicates the kind of a note, and the upper, how many of that kind of a note are contained in ameasure. 

Thus, H indicates that there are three quarter notes to ameasure. 
4 

A MEASURE is that portion of a musical composition contained between two single bars. A BAR is a perpendicu- 
lar line drawn through the staff, thus: EEz=EL A DOUBLE BAR : j is placed at the end of apiece of music; some- 



times at the end of «i section (strain) thereof. A DOUBLE BAR with dots, thus ; z=± pE is called a repeat, and sig 



nifies a repetition from the previous double bar, or the commencement of the piece. 

ACCIDENTALS. 

The Sharp (#), Flat (I?),. Natural (l|). Double Sharp (ss) and Double Flat (MO are caUed ACCIDENTALS. 
The'$ before a note raises it a Semitone (half tone). The \> before a note lowers it a Semitone. 

The x » » » » » » Whole Tone. The V? » » » » » » Whole Tone. 

The tj" before a note removes a previous $ or k 
The B$ before a note that has been double- sharped lowers it a Semitone. 
The q\> >> » » » » » double- flatted raises » » » * a' « a , 

■ ' ■* *$ '- J rv > \ '- 

The Sharps and Flats placed next to the Clef are called the Signature. EX. ffh ft or - (fy ? b 

NOTE.' Each Sharp or Flat in the Signature affects that particular tone upon which it is placed so long as it remains in the Sig- 
nature, unless changed by the introduction of other accidentals before the notes. 

THE SCALE. 

A SCALE is a series of Musical sounds, ascending or descending according to a system of tones and semitones. 
The first seven letters of the Alphabet are applied to the seven principal tones of the Scale. Also the Italian mon- 
osyllables Do Re Mi Fa Sol La Si. 

It has already been shown that the G Clef fixes G upon the 2d line of the Staff. From this starting point all oth- 
er tones can be determined. Notes extending above or below the regular degrees of the Staff are written upon what 
are called LEDGER LINES , and the spaces between. 



EX. 

8685 ~*4 . 



n 




6 A Scale Ascending. Descending. 

G A E C B E f «J G G F E D C B A G 



97 1 2 



•o~~~rr 



-o- 



_Q_ 



EX- jv-Ts i> o o » V ? Q 



o o o t» ' y-e~ 



"° CT 



* 1 



NOTE . Observe that the seven letters follow eacli other in regular alphabetical order, and that the eighth letter is always the same as 
tlie first, whichever one we begin with. It is therefore said to be an Octrtve (8 tones) higher or lower tlian the first, accordingly as N..-go 
up or down. 

DIFFERENT KINDS OF SCALES. 

The Scale is the basis of all music. There are three kinds in common use: the Major Scale, the Minor Scale,aixd 

the Chromatic Scale. The Major Scale consists of seven principal tones, viz: five whole tones, and two semitones. 

The semitones occur between the third and fourth, and the seventh and ^eighth degrees of the Scale. Degrees or in- 
tervals may be Major, Mz'nor,or Per/ectjnv ; _ Major 25, Minor 2&' } Major34, Minor 3<* ^Perfect^, Perfect 5*h, 

The Major Scale. 

SCALE OF C MAJOR. 
The semitones are indicated by this sign ^--^ 

4567876543 2 1 



and so on up to the octaves. 



" if _ _ '- 1 ,_ 
















c> 


























o 








*i 


















i> 
















O" 








c 

Do 


o 

D 
He 


E 
Mi 


F 
Fa 


G 

Sol 


A 

La 


B 
Si 


C 
Do 


B 
Si 


A 

La 


G 
Sol 


F 

Fa 


E 
Mi 


o 

D 
Be 


C 
Do 



All Major Scales have the same construction and the same order of intervals, ascending" or descending. 

The Minor Scale. 

Every Major Scale has its relative Minor. The Signature is the same in each, and the Key-note is a Minor Third 

C | A . 

(tone and a half) below that of the relative Major Scale, Ex. ~*>j tl E It has also five tones and two semitones, 
hut with a difference in the order of intervals. The semitones occur between the second and third, and seventh and 
eighth degrees of the scale ascending, and between ike fifth and sixth and second' amd third degrees descetiding. 

SCALE OF A MINOR. (Relative to C Major. ) 
Melodic Minor Scale. 

.1 2 3 4 5 6 7 ^J& 7 6 5 4 3 2 1 



$ 



xi o " *■" E V 1» o o tT 



*» ! g g t» 



B C D E F$ G$ A Obj tflj ED C B A 

There are two kinds of Minor Scales in common use; the above which is called the Melodic Minor Scale, and the 
following which is called the Harmonic Minor Scale. Observe the difference in the arrangement of the semitonesT 

SCALE OF A MINOR. 
Harmonic Minor Scale. 

12 3 4 5 6 7 8 \^J9 6 5 4 3 2 1 



i 



„ jgg o g = F F " " o O o 



D E F ~ G? A <jff F~~ E D 



As the Student will meet both forms in his subsequent practice, an example of each has therefore been given. 

S6S5-94 



THE CHROMATIC SCALE. 

This Scale is composed of twelve semitones, and may be formed upon any degree of the scale, major of minor. 
In ascending, the Sharp, Bouhle- sharp, or Natural is employed in its formation, hut in descending,ihe¥ldit,J)ouble- 
Flat,or Natural is used accordingly as there are sharps or flats in the signature. 



$ 



W^f 



c cD 



m 



u 



IP 



* 



ejf b b# e 



F 



F# G G# A Aj B, 



jrfi 



S 



f 



tt 



B 



Bl> 



Ak G Gl? F 



E 



E'k B 



Bl, 



C 



MISCELLANEOUS CHARACTERS. 



Notes having a dot or dash over or under them are to be played short and detached. This is called Staccato. 

Half staccato. F\ill staccato. 

™-rrrr\\ -ffrfll effeet - mgpt d&ffi 



Written: 



Played. 



This sign /Ts called a Hold, placed over a note or rest, prolongs it beyond its exact value. It is sometimes 
placed at the end of apiece instead of the word Fine, which means the end. 

The character ,- — ^ called a Tie when placed over two notes on the same degree of the staff #""# . makes them 

one continuous sound. 

When placed over two notes on different degrees it is called a Slur and indicates jthat the notes it applies to are 

to be played, in a smooth and connected manner- 
Three notes played in the time of two of the same kind are called a Triplet, and are indicated thus- 



A Sextolet is a group of six notes played in the time of four of the same kind. EX. 



rr rr r r 



UT 



The •%' called a Sign; directs the player back to where it was previously indicated, for the purpose of repeating 
a certain portion of the music. 



A passage that repeats, sometimes has tivo endings indicated thus: 
the first time and the other '2? 'the second time. 



1°. 1 1 S< 

mm 



That marked '19'is to be played 



Every measure has its natural or primary and secondary accents, besides other smaller subdivisions. When the 
natural accent is perverted and made to fall on an unaccented division of the measure it is called Syncopation. 



£ 



£#^g 



When a stronger accent is required than that which naturally belongs to a note it is indicated by one or 
a /.other of the following signs called Accent Marks. A, :=- or fz called Forzando, rfz lUnforzando, and 
Sometimes ffa, according to the degree of accent desired. 

When a group of notes or a measure that is to be repeated, is written like the following, it is called Abbreviation 



8685 - 94 



Other forms 



B 



repeat g rot ill. 



m 



repeat measure 



Written. 



PKyed 



S£ 



S 



Written. :i Played. 

t 7 'I I n i JT J r »-r . 



& etc. 

& etc. 



8 



ORNAMENTS. 



The chief musical embellishments are the Appoggiatura (or Grace Note), the Vruppetto (or Turn), 
and the Trill (or Shake). 



APPOGGIATURAS. 



The Appoggiatura is a small note placed before a principal note for the purpose of ornamentation 
or effect. There are two kinds of Appoggiaturas in common use _ the Long Appoggiatura , which takes 
one half of the time -value of the principal note before which it is placed and also receives the accent, 
and the Short Appoggiatura, which is played very quickly, the accent in this case falling" on the princi- 
pal note. 



Written. 



Played. 



Long Appoggiaturas. 

J., \u i P. t&-h-^ . 



PH 



^Fr 



gfrffl 



Written. 



Played. 



Short Appoggiaturas. 



$m 



wm 



£ 



INp 



A group of Appoggiatura notes sometimes precedes a principal note. These notes are played very 
rapidly and the principal note receives the accent. 



Examples: 



sspg 



tes 



^m 



and other forms-. 



THE GRUPPETTO (or Turn). 

This musical embellishment is a group of notes (3 or 4, as the case maybe) consisting of a princi- 
pal note and the next note above and below it. It is indicated by the sign <x>. There are several forms of 
the Gruppetto as will be seen by the following examples. 



9174-79 



9 



Examples of the Gruppetto. 



When the sign is 
placed above a note 



It is played thus: 



Principal notes. 

C/3 *>= 



£ 



fe# 



P 



If between 
two notes it is 



played thus: 



GO 



f^ 




i 



f^^F 



rccerr m 



If after 
a dotted note 



Thus: 



fc 



GO 



go 



g 



=3 



i^SJ^ jjTO 



p 



When a note in the Gruppetto is to be sharped or flatted, either above or below the principal note, or 
both, the sign is expressed accordingly, in the following manner: 



ft below.- 



Played: 



M 



| J. JpfU 



P above; 



Played: 




p above and ft below: 



Played: 




Written: 



Played: 



S 8 8 



m 



, iiP ~ _ 



THE TRILL (or Shake). 



The Trill is a rapid alternation of two notes atone or a semitone apart. It is indicated by the sign 
<tr placed above the principal note, the alternating note being the one next above it? There are three 
kinds of trills _ the Perfect Trill, (with finishing notes) _ the Imperfect Trill, (without finishing notesL 
and the Mordente or short trill, indicated thus <w. 

^Sometimes the next one lelow : t. 
9374 - 79 



10 



Examples of the Trill. 



Perfect Trill 



Written: 



Played: 



i 



<tr 



-o- 



Principal note. 

Principal note and alternating- note 



S 



Finishingnotes, 

Finishing 
notes. 




Written: 



Played: 



<tr 



m 

^J Prinr>i 



Imperfect Trill. 



■^■^^-^W^W-VW^^^^V^'V-^'^W 



Principal note without finishing" notes. 






Mordente (or Short Trill). 

Written: 



P 



Played: 



tfUCTLfe 



OTHER SIGNS. 



Tremolo. 

A very rapid repetition of the same 
cone is called Tremolo 



Arpeggios. 

When chords are to be played in the 
manner of the Harp it is called Arpeggio. 



Written: 



Played: 



M 



Tremolo 




Written: 



Played: 



£ 



IE 



&- 



3=3 



■o- 



p, piano . . . . means soft. 



pp, pianissimo . . . " 

/, forte . » 

ff, fortissimo . " 

mf, mezzo-forte » 

fp, forte -piano " 

fz, sf 'or ^ sforzando " 

crescendo, cresc. or 
diminuendo, dim.ov 



very soft. 

loud. 

very loud. 

half or moderately loud. 

loud and immediately soft again. 

sharply accented. 

increasing" in loudness. 

decreasing- in loudness. 



9374-70 



11 



THE TENOR BANJO 



The Tenor Banjo consists of a rim varying in size from eleven to twelve and one half inches in di- 
ameter. The head is drawn over the rim and kept very tight by brackets. The arm upon which the fin- 
gerboard rests is firmly attached to the rim. 

There are seventeen frets on the instrument giving a range of two octaves and two semitones. 

The Strings and Bridge 

The four strings are the 1st string A, the 2nd string D, the 3rd string G, and the 4th string C. 
The bridge over which the strings pass should be placed at exactly the same distance from the 12th 
fret that the latter is from the nut. 



C 



The Open Strings 



4th 
string 



i 



3rd 
string 



2nd 
string 



1st 
string 



¥ 







G 



D 



Tuning 

Tune the 4th string to from piano, then close the 4th string at the 7th fret and tune the 3rd 
string in unison producing G; close the 3rd string at the 7th fret, tunc 2nd string in unison producing D, 
close the 2nd string at the 7th fret, tune 1st string in unison giving A. The open strings correspond to 
the following notes on piano. 



4th 
string 



3=2 







3rd 

string 



G 



2nd 
string 



m 

D 



1st 
string 



3 



15324 - 64 



12 



Diagram of the Tenor Banjo Fingerboard 

Showing the Chromatic Scale on each String 



A or 
1st String 



mm ffETf 



fetfruutgig * te 



tete 



£ t?# 



fe^te f ^f ''I 



Dor 

2nd String 



Ph *H 

o ** 



Frets 



1st String A 

2nd String D 

3rd String G 

4th String C 



G or 
3rd String 



Cor 
4th String 






!>♦ ^ £ It; 



^ 



mm m^m-m 



1:1 1:2 1 



M 



n 



■G* 



C* 



Bb B 



Eb E 



Ab A 



Db D 



A» 



D« 



GJ 



Ftf 



Bb B 



Eb E 



Db D 



Gb G 



B» 



D« 



G* 



C Cft 



n 



Eb E 



Ab A 



Db D 



A# 



Dfi 



o« 



p« 



Bb B 



Eb E 



Ab A 



Gb- G 



M 



Qi 



c» 



Fft 



Bb B 



Ab A 



Db D 



-. G 



B» 



3 1 



4 1 



5 1:6 l!7 



A| 



d8 



G« 



c c# 



Bb B 



Eb E 



Ab A 



Db D 



A* 



D* 



C« 



Fft 



Bb B 



Eb E 



Db D 



Gb G 



Bfi 



7 



tJ hJ jt jy v n r Wfr ^r *r^r ^r^~*r~f 



^J w J jg tt ^-f-y #r 



^y^^y^ te^. 



J. fribJ i j J tfJ^ * ^ J E* 



jj J k ju ^ j t Jy up »p f fff'^r ^ 



k^ 



Holding the Instrument . 

The performer should sit upright in a chair without arms. Rest the rim on the right leg, about four 
inches from the body, keeping it in place by a moderate pressure of the body on the upper part of the rim. 

The arm of the banjo should be raised so that the pegs are in line with the chin. Support the arm 
at the nut in the hollow between the thumb and largest joint of the first finger of the left hand, the 
thumb being on the upper side of the arm at the nut, with the first and second fingers arched directly 
over the first and second strings. 



Method of Using the Plectrum (or Pick) 

Place the plectrum between the thumb and first finger near the end of the finger. Keep the thumb 
almost straight. Strike the strings with the flat surface of the plectrum, never with the edge. 

Rest the forearm on the rim about four inches from the tailpiece. Arch the wrist and strike the 
strings from above, not across them, except in playing chords. 

Begin by playing softly, using down and up strokes alternately. Practice these until able to play 
them rapidly, producing the Tremolo, which is the method of sustaining notes on all plectrum instruments. 

15324 - 64 



13 



fc 



Stroke Exercises 

. ,. , (Open Strings) 

n indicates down stroke 

A indicates up stroke 

\ A n A nAnA nAnA iLlL ZH-1H n A n- A n A n A nAnA 



rrr i rrrr 



000 



^m 



f^ 



-0-0-0 



0-0- 



Notes on the 4th String 

n-AnA nAnA nAnA nAnA nAnA nAnA n 



^•'jiii ' JjjjijJJj i ^J i JJJJijJJj ip 



Fingers 


1 


3 


4 


3 


1 





Frets 


2 


4 


5 


4 


2 






Notes on the 3rd String 
nAnA nAnA Continue same stroking 



^^Trrrr irrrrirrrr i j ^ 



£ 







ringers 
Frets 



n A n. A 



Notes on the 2nd String 



m00 \ 00*0\PPP 



P—P 



m 



^ 



0—0—0 



9 „ 



Fingers 
Frets 



n 'A n A 



rrrrffrfr,m 



3 5 3, 

Notes on the 1st String 



ffffir 



Fingers 1 

Frets 2 



Count 12 3 4 

nAnA 



12 3 

n n 



Etude 



1 2 

n A 



«? ^ 

n A 



pi 



3 4 

n 



^ 2 3 4 



^ 



^-^j-^-U-^ m 



^j-r-rv^ 



d d d 



Fingers 030 140 40. 

■12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 







I J I -Ht=t=£ 



3ee=e 







l=^£ 



3 

12 3 4 







S 



12 3 4 



¥^ 



12 3 

9- * 



4 1 



3 4 



2 1 

12 3 4 12 3 4 



-T r i r > r 



14-t I f f ■ : 



^ 2 



2 1 



14 



All down strokes 



Scale in C Major 



1st String 



4th String 3rd String 2nd String 

CDEF GABC D E F £ 



i 



nrffnffr 



i*lilU+U 



E 



w 



f 



£ 



# 



Fingers 134 01 34 0124 012 
Frets 024 5 02 45 2 3 f. 023 



Chords inC Major 



i 



I 







m 



^? 



0=0= 



o-» o 



o> ot rP oV 





-0-0- 



1 

-it-- 

2 

41 



3 

(>- 



1 

2 









Chords should be played with a quick down stroke unless they 
are written arpeggio, which indicates that they are to be played 
slowly from the low note to the upper note of the chord. 



' The arpeggio is indicated by a waved line. 



C 



C 



Scale Exercises 



1. & 



The student should write the fingering underneath the notes 

* - A k a Continue with same strokes 




«?=* 




I X 



rciX-f i £Oi r j a 



2. 



n A 



Repeat each Ex. several times 



$-1 



H=F 



Qj] h) jJJfl l reffto 



t 



^HF 



■ T P g 



•n n 



LrTTT^ 




3. 2BBE 



^nt^r^mrr i r^^r/itj^ 



m r m m 



'.10 4-1 / ■ 



#■ *■ 




f 5.?24 - tf# 



/ 



Not too fast 

ft A n A 



Melody Exercises Leading to Tremolo 



15 



i 



W 




ft A n A 



ggffi^ 



g^g ^fw^ gg g 



^al bU^^fe 





p ^=M 



* 



Waltz time 

nAnAnA n AftA"A 



WALDTEUFEL 



S 



^fggggt ^ ^^ ^^^ 




^^^^^^^^^^^^^ 



Faster 



HA n A n A n_A^ A „ A n A n A 




16 



The Tremolo or Sustained Tone 



To attain proficiency in the tremolo, perfect evenness is necessary rather than speed. Always begin 
with a down stroke, ending with an up stroke, except in cases where the tremoloed note is tied over to 
a short note. 

Tremolo Exercises 



As written 



As played 



_g 



JOE 



Count 12 3 4 



H A H "A n A H A continue same strokes 




Count 1 

Tremolo all notes 



.^- *0- 



_CL 



n 



Q- 



fe£ 



+ SL 



' Count 1 2 3 4 12 3 4 12 3 4 1234 1234 1234 1234 1234 



^£= 



JDL 



a 



Q- 



ZZL 



m 



12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 123 4 



The slur is used to denote legato or smoothjiess. The tremolo should be continued throughout the 
duration of the slur, stopping only long enough between to attack at the beginning of each slur. 



Slow 



Example 




Z2I 



m 



^ 




^j- 



Count 12-3- 



12 3 



1 2 3 4 12 3 4 12-3-4- 



$ 



ZZL 



L2Z 



m 



Q~ 



T2L 





Slow 



Etude 



i 



£ 



m 



w 



^##^ 



* ' • 



iP^ 



w 



^^ 



15324- 64 



Scale in A Minor 

Relative of C Major, with same signature 



17 



All down strokes 



i 



^f^lfU 



m 



Chords in A Minor 
0-0- o^- 



£==* 



■-o- 



0- 



m 



? 



zn 



U3*: 



Fingers 1340 1 3 40 4 210 4 31 



r 



Slow 



Etude 

Tremolo 





o 




c 




oc 


1 




o 




o 




O 






















y 
















1 


2 




1 










3 




1 


2 
















































4 
























*. 
























1 








1 








_ _ 
1 








1 











p rtrffr i fr'rr i ffft^f^rWrifflp^tf^^ 



gnr i Lrrr i rrj^ 




* When two notes of the same degree or letter are connected by a slur they are to be sustained 
throughout the time value. 



Play all down strokes 



Scale in G Major 

F$ in signature 



£ 



E 



Fingers 1 3 4 01 34 0124 1 34 



4 3 14 



ifl rfff 



fT7r i'r J J ^ ^ 



^^ 



§ 



T^-* 



13 4 



2104 310 4 310 0431 

Chords in G Major 



i 



ff^ra — 



35 



-«-•- 



2- 



0~^~ * 



-0-» 



*A'52# - tf-# 





c 


) ( 


D 






o< 


D 






■ 












( 


D < 


D 
























1 








1 








I 








y, 






/ 






J 


/ 














/ 












*> 


i_ 






9 






























J 


1 




,? 




























1 










l_ 




i 


f 






















1 










1 1 










l 













18 



Melody Exercises in Q Major 
March 



2 h ■ 2 "An n A 



n n n n 



M. M 




£ 



2 A n n A n 



n A 



#^f r 'r r i I i^' ^J^- r J i f H 



I 



n zgzzg fa ■ 1 t m g I * 1 r pp g ■ ■ I f I; * a rr I r r r f r r 



f "f , r ff ,ff»rf a f r 



# = 



* 



Ie^ 



r g | ff,P| 



•A dash written over notes in slurred passages signifies that they are to be accented while played 
tremolo. 

Waltz 



* 



5 



f^ rtS> 



5- " 



i 



?7T 



m 



<2_!_ 



^-?- 



ppf 



f 



H^M^ 



221 



J2I 



^ 



n A 



n A 



n A 



n A A 

# •£ 5 m. n A 



fj* i LFf 



a 



^ 



-# — *- 



1,1.124-64 



. 19 
Exercises showing proper strokes on various movements as used by expert players in dance orchestras. 

Exercises in more difficult forms will appear later in this work. 



H „ PI 



£ 



n A n it n A - 



March or Two-Step 



» U » n 



K^ifT 



n n n 
5 n AJ£ * 



fefe^ 



g 



* 



" S- B n " 2 #*0 * 




-* * 



8 itop-JJ i f-ff f i to 



m 



1 



i-r Kfr | n t f|£iff;ci i r 1 nO* j 



* to^r iT i f iTrr^ifx/r g i f ygjy y^ 



£ 



* 



r r g i f f , iCLrV Tif g 




i 



* tor If | f p r |g tr>p.[f i ' g rJlf 1 ^ I | W»| 



3fc 



\ 

n n h _ 
n *^ *J1 n .„ n n 



One- Step 



p ,f f f f i r'rf M 



* 



i 



pi n h 



& 




■Tf i f ff . HKf-fe fe** 



r. ■/ f , if f 



r i r t 



g Lr i f fj 



#•■ # # 



C-f r i r j 



i 



§= 



^ 



r r f i f r^r-^ 



1 



"* A dot at the end of a slur indicates that the note is to be played down stroke. 

15324-64 



20 



Scale in E Minor 

Relative of G Major with same signature 



All down Stroke 



j 1 1 m 



m 



tete £ £*M 



i 



s 



¥ 



3401 3411 3401 3 44 4421 



Chords in E Minor 



t=^+=t=? 



0-0- 



lb 4 



i 



^ 1J. 



^ 



£ 



f 



0431 04 3 1 043 



)j** 



H n A n 



Etude 



i 



»» t .^jt-f 



n n 



A 



m^f 




mmz 



— 







\%E 



^m 



$ ljLflH^l f M 



iigfc 



U U 



ii* 



La Vague 

Waltz 



METRA 



^= 



n 



is: 



i^- 



£ 



-73- 



£ 



£ 



^^ 



2z: 



# 



i 



ZZZIE 



^^ 



PP^ 



£ 



-iS*- 5 - 



^^ 



ZZE 



fl A 

0± 



a • 



^^ 



*S324-64 



Signs used in Abbreviating 

Lines drawn acoss the stems show that they are to be repeated as follows 

h fl n A n A n A 

As written ffig f f = As played j|g r_J L^T" 

Etude 

nnAnnA nAnA n n 



21 



i- M If U 



f i s\tu\h \s£} \ ox*&m 



& 



WW 



£ 



m 



f ; i; ^\u M 



Jt 



P-T-P 



P-F 



*« — «* 



1?: 



^ 



»•—!«» 



n A n A n A n A "AnA 



2.W 







i/\n/\ . .» ._ 

f ; iff i; ; if i i f 1 i* ^ 



rr 



| f f i f f i f f if ; | f f i;-f-pF-f-f# 



pm 



^t 






"Lf i i r tf 



*« ,£,. 



■ , 1 |C 



3. 



*^^^K 



Fox Trot 



fe 



n A n A n 



^^ 



n A n A 



pc q o I g= =5 



f 



i 



n A 5- n 



* p rr 



Q n n 



i § | f efei 



afe 



n. n 



n n 



r /rJT 



^ 



^ 



Count q- time 



Easy Syncopation 

(Rag Time) 



,. Mrfr" | SfM r r-^ i ^r i r ff i f l i frr t^T 



12 3 4 




n n- 



A 



S 



i ^ 3d 4 d 



M +. 



■ £f $m-L$4 $^^i 



1X324-64 



22 



Scale in D Major 

Fit and C# in Signature 



To make even strokes play A on 2nd String in descending scale 

(2) 



* n A ,nnnA 2" a ha 



A n n A 



m^mm 



Chords in D Major 



a 



tcfi 



Finger 1340134 134013 4 314321 



4 



Allegro 

n A n A n A n 



Exercise in D Major 



i 



s=fei 



./ 



1*# 



T 



m 



m 



EJifffrf i frjj 



i=t! 



$ 



m 



Polka 



Etude 




* 




0—0- 



§ 




r r r i i 



* 



ri 0- 1 



m 



Rosalie Waltz 



i 



n n 



(©-=- 



£ 



fe£ 



'. .—(2 



^ 



i? (softly) 



m 



m 



&-*- 



i 



S 



irx 



* 



^RF$ 



Fine. (end) 



* 



n A n n 



P£2A„ A 



r iC£C£ E fir i JJj ^ i f- ic/rr i f icrrr 



^^ 



#=F# 



m^-*- 



lg§£ 



:i=* 



J2_ 



£ £ 



^ 



• . <g i 



r? 



SE 



i 



15324-64 



D. C. a I Fine. 
(B epea t from beginning to Fine) 



23 



Scale in B Minor 



'r m ifY 



Chords in B Minor 

1#. 1JR 3 * JL 
-3-r 



r r r * w mm 



HE 



? 



34 1 3 4 11 431 0-43 

Fascination 

Fox Trot 



«tjrpT if rTn 



f £** ^ 



— 19- 



a 



§ 



m 



»/ 



-o- 



»r r it 



* ■£ 



£ JR. _ ♦ .JR 



i 



* 



NQ 



i 



:= J2. 



# 



* g ** 



# 



-o-' 



-— 1S>- 



£ 



-o J 



fct 






I 



»i rrffi* 



^ £ . 1* 



^ N# 



-#• # 



^ J2 



1 SP rr- 



n n A 






•rrf i fffff , r r f i frfrfPE 



Fine. 



*ti 



f ffrrffr 



a 



i=££ 



#^F 



ssi 



^^^i-^t^ i^l^fedr^ 



£ 



1 



D. G. a/ Fine. 



153Z4-64 



24 



is 



n n _A n A n A 3 

3C 



Scale in F Major 

B!? in Signature 

-C**ii n n AnAnA n 



^rj-^ q 



crffnfif Efd lrr 



^ 



^ 



Chords in F Major 

o-g- i« 3 -£ *- 

if „L ti » n 



£ 



" 



w- £ 



^Encircled figures denote Strings. 



f 



Exercise in F Major 



zr 



P* -^t^ ^fc^X-f r JTO 



5^2 




i 3 , i 3 







r.JL n 



^ 



1 



g- — — tP- # 



Melody with Chords 



f 7-g 



t-S- 



SBE 



-1 



P 



$ 



i 




§ 



i 



« 



s. — -::; — m T f- 



A 



m 



f 



m p 



m 



n 



*E=* 



^ 



P P 



g^F^l 



Scale in D Minor 



All down Stroke 



j i j >> i 



&i 



it* £ -fte t 



^ 



fe£ 



£ 



P 1 * 



^ 



15324-64 



^ 



i 



* i 



Chords in D Minor 



o- g- 1 # o -g- 



Scale in A Major 

Ffl Cjt-and G# in Signature 



25 



U 



All down Strokes 



& 



m 



piSI^ 



Chords in A Major 
■i- .^ 2 * 1» 



g—T 



£ 



rB 



Etude 



a 



i 






m£m 



Hi 



ff fr jjjj^i j UV c T i ^ cJ 



M 



Scale in F# Minor 



fc» 



All down Strokes 



Chords in F$ Minor 



nV jm r »rVJ l"Mrrr/l 



*=3* 



i 



Scale in Bl? Major 



To i 



2- i 0- 






0--4- 



1^1 — r 



Chords in B!» Major 

1 



EE 



Pi 



^ ^ 



1 



Waltz 

42.' 



£ 






CZIBULKA 



22= 




1S*- 5 - 



<9-=- 



1»— 



i 



-P-' 



g 



# 



M- a.' 



-&-*- 



m 



p 



£ 



19 3 - 



f~rri 



15324-6* 



26 



The Chromatic Scale 



n A n A n Ann n 



A n A 



ft. « A n 






*%* , g £ «gptMff , f 



#^|r# 



3== 



£E 



jfrW ' W ^ *^ 



jESV 



4 4 1 



12 3 4 4 11 2 



5- Ai n Ai Pi 



frrff ^f p irf f*? 



n A n A n , ^„^ n w A n A n 
- -i 





H Ji J HI 



$^E 



2110 4432 1104 ■ ' 1 J 1 4 4 3 2 "J " T 

* 3 2 1 



Etude 



Moderato 

n 



n a n 



# £ #i £ " „ |A 




P=^S 



S 




S 



P~T 



Dance Caprice 



i 



Allegretto 



& 



rP r r^r r-JTiffrixr r f "r fj} i rjj'f r 



i#^ 



» * 



jjT3 £g. r 1p r t ^fi i 



41 4 



r t r ' 



a M'irrrf i r *NMf 



fifif-r^ 



5^F% 



15324-6* 



Study in Chords 



27 



Tremolo throughout. 



2^ *^ 



±2 



TL 



W-rr 



%o 



4 £ 4 



5T 






4j 



& 



2-S> » 



±2: 



-%■ 



m 



»/" 



2 £l 
±2= 



4^ 



4-S 1 - 



4 A 



i_0 gj 



l> S G> 



-i-ff 



+:= 



^-& 



1^5^- 



+ 9 



&?-& 



*- # # 



■ff-rr 






IB 



a: 



r 



Syncopation Study 




^^ 



Q A n A n a 



tf i r rtf r ^ ag 



" A n A 




& 



* 



t*T Lr- i r--*p 






* 



til 




£ 




f I if a 



#:#? 




^' i rfTrirr ^^ 



i 



*=#=# 






n n n 



l£=| 



^^d 



■# — ** 



i 



I 



15924-64 



28 



Scale in Q- Minor 



frW^rtf^MtJLpr y r r i r ^ 



Chords in'G Minor 

1* 8 #Oj 



33 



!g 



I 



3 4 



i 



Scale in El? Major 



Chords in E!» Major 



3 4 1 



2 ^_ 



m 



ZM 



3* 
4-" 



^S 



m 



f 



f 



fc= 



Scale in C Minor 



^ y p § i>J J 



Chords in C Minor 

4 ^r 4 ^r 2^ 



gffi 



5 



-t- 



-o- 



* — ~Hk 



Scale in Ah Major 



k* 



12 3 4 12 



m 



Chords in Ai> Major 

» = 4- 



H^ 



PE 



PP 



+» 



Scale in Db Major 



12 3 4, 1, 2 3 4 



Chords in T)\> Major 

im 4-" 



i 



* * % T A r J » 



g J J 



r r r ir r 



^ — » 



Scale in E Major 



u 



m 



2 4 1 



3 4 12 



i 



Chords in E Major 
4 £ 4 * 3 



^ 



£ 



4-*=£ 



1-5324-64 



3rd Pos. 

-4 3 , 3 

. •f< Q -r ■ C 



The Cadet's Dream 

March or One Step 




I 



• • m -m 



ist pos n h A n n A J 



29 
G.L.LANSING 



# o J 



mm 



m 



E 



I 



/ 



m 



/ 



ag 



* 



c/CLnr 



txrtritf£J K ir*rr, i l| c/tj' i 



it r i t rr ,. H rf ^ 



Ml 



r , < f*Cf|£ft!ri^ 



p 



P T|Ui [IT igf 



y t^r itr'cri^? i f> it i^iir^ 



# 



^ 



V r J"3 



f TT^ l r J^ I J. J 



? 



es 



p 



$ 



£ 



El 



n i r^ 



p 



^ 



,?/-rf Pos. 



I 



fef^# 



fe^ 



=t 



Hi 



f creso 



feS 



«B £ # ? * 



£# 



■O- #■■•■■•■ 



I 



Ragtime Exercise 



J 



n n A n n A 

A JL4 



n A 



n A 



- A h A nnAnnA^.-. 

-•" -#■ -5- ■■■ — -— — • — -— — -«- ■ — — — -0- -#- -F- — 




15324-64 



30 



I 



Escort 

March ov One Step 



A 



G.L.LANSING 



# 



Pi 

m 



r 




tmm 



±3: 



f 



•/ 



ffJ\Zl rz i \ hM 



^j 



h f i rjrr/ i r fff ^'^rr-rO i ff Fr feM 



PE#EE3| 



ir;jr_r irjrrripf' *P i r frr^ 



f 



7 g 7 : 



I 



// 

* ■ m £ — Iff: _£ ■ • • 



1 



is 



^ tfTLr i crr i 




n 




P^ 



t 



3 



HH 



TRIOzfe* 



*¥ 



f 



£ 



? 



^' 



P£S 



i 



rp ir"r ir P 



m^ 



• — # 



L^ f i f 



0-P 



£ 



- 2 / — v a 



KTv i f f 



I' ff "flf 




#^ 



htftSit if 



I 



^ ^s 



15324-64 



31 



Examples m Syncopation 

When the accent is changed so that it falls on an unaccented part of a bar it is called syncopation.Theterm 
ragtime is commonly applied to the syncopated parts in dance music. 



$ 



Trem.^ 



r . rf f i fr 



_o_ 



n 



2 



hm fTn 



^ 



i 



% 



h ffrrff i frrrg 



2 



n n "-^ n 



" nn ^ ■ n A g n ^ A 



n n 



^cKriELrCjfiu/ccr 1 ^* 



2 



• Etude 

Pay strict attention to the stroke marks. 

_ rv_ a n rv_^ a n 



A n 



^ 



n n n n 



B — ^ ^ 0L. 



R A n n A n n 



£ 



ff r , ff r 



A 



n A 



# # T- 

% 1 F j j 



jj. n A " 2 A n 



n n 



*l£J> ff-/7f r 



■ g 



n A n ^ A 



n A 





A 



n n n 



f if r rr r^ 



^ 



n n 



4; 

air 



i , n 



* 



Chord Study 

i J2. n n A 4 » n it n „ n n 



n n 






# 



p — » 



T 



T 



5=f=5 




n 



I 



tfcf 



-» A n 



< 



an h a 



n n -#- 



s 



m 



T 



15324-6* 



33 



The Invincible Rag 



Rather Slow 

n pi n 

4 Jt M. -m- 



£E| 



A n 

■0- # 



LEO CATLIN 



# 



to 



p 



esi 



Ml — * 



J^3 



: ^ 



/ 



mzzwEzm. 






ezzb: 






p — ?• 



ft 



f 



m=£ 




Fine. 



% 



%^t=$=* 



P 



^ 



3 It V :' 



F 



* 



3- 



* I 



1 



*=t 



m 



»/ 





)• •— 



Ml 



P 



f f if rrr f ^r 



: ■ g 



f=E^ 



$Ni 



ft ft . ft ft #ft ft £ ft £ 



» 



* « e t t He * 




1 




9 9- 



— 9- 



*sm 



m 



£±EEl 




TRIO: 



ss 



1> 



3^3 



* Yd * 



r^ tn ! y pt;F>r i ff frp ^ 



/ 



E 







t# *r ' 


— 4- 


t 4i 
P — tW 


F 1 


* — -f— 


*"* ^-i 


5 1 u ro — , — p— — J p-| 1 


#^=^ 




• 2 


W 


^ ^ — Lfe^ 


j 


— — 1 j 172 J-d- — 1 « J bj J» — 1 



I' i pj 






i 



1# 3 



D.C.i 



f 



m 



»/ 



i>. & a/ /Yw*. 



.15324-64 



33 



Studies In Triplets 



Begin first note of each triplet down stroke. 



i.S 



i 



n A n n A n 



n A n 



^S 



n A n 



S 



jp~ a m 



m 



m m 



^ Z^T 



I 



ttr^irrrrjir^ui i ^^r^Q^i 



&=k 



M Mf ^ 







gnrrrrrrrfri^mjnm 



pupm 




n 



#-#-# 




I 



trjum^ i rrrrrrtcrc 



n§ 



#-i» 



0-0-0- 



ins 



j i r ^ 



2.a0B 



n A n n A n n AJ n A n. n^Sr-A n A n n^^ 

■ o r I J g I* 9- 



m 



000 



' 3 s ^ * 



m 



m 



A n 



m * 



### 



n n 



A 



3= 



M 



:_n A * 



I 



6*3 



P^ 



i 



i 



f i gir^i^f^ 



^ 



(•t#-# 



^ u jrc.ffI^^j i,LT 1 ^jii m i J ji^j i f i 



15324-64 



34 Exercises in Gliding (Coul£) 

The plectrum should pass smoothly over the slurred notes. 



i-m 



m 






H*#- 



i rt ,/ff 



^ 



W^ =±: W t=== W i ' *Lv ^ 



T* 



i 



2.33 



n 




-*. 



** 






4=^ 



HP 'Br ^W 



- m rv 






3- p ^IJ-t^l ip l 




r . A. 
Ha- 
noi* •— 



-A 



n2f 



g^ H 



Pl4# 



B 






Etude 







m 



4 df M l'gJLr i Q-f JJ 







f^ ^J = »— 



i. 4; 




•Vz2- «- * n A 



^1^ 



%Z * 2. ! 



r r r , ■ r T f f r mpTT r r i 



pi** 




/Tk 



/T 1 # i* 



:r 4 



15324-64 



The Positions 



35 



D. $ 



£ 



The compass of the Tenor-Banjo in the first position extends from C to upper D. "(fa i ' := When 

playing in the upper register it is often found more convenient to make the lower notes on the 2nd, 3rd and 
4th. strings without changing the position of the left hand. 



All down stroke The Second Position 

1st String 

2ndString 4 \ 2 3 * 3 2 ^ 2ndString 3rdString 4thString 3rd String 2nd 

' * 5 ' ill i 4 3 , I* 3 2 3 *-if-1 3 4 I. 



Fingers i 2 1 




Frets 35783578 7538753 3 9 753975 7935793 



Exercise 



Fingers 4 ■ 

1 - — , fr 2 3 * 



HE 



1 - 

» — * 



*^i i i > i . ± * 




HHi 



i * ^ t 4 3 , 



^ ; * a I | , n 



^m 



Moderato 



Melody 

SndPos. 






5 I P 



Ula 



fff*l» 



^^ 



P 



£ 



Tremolo 



ft-* i i^TEr i frnrTffirtftfmrr if^Piru 



Third Position 



1st Stg 

2nd Stg 2 3 i 



* 



4thStg. n 3rdStg. __, t ' 2 ' 3 ~Ti ffc'fiS f #♦- 



3 



^ 



He 



E 



¥ 



rif JJ? 



* 



Etude 

3rd Pos. 



n A 



^^ 



•rff i Pfffr 



3 2 

■ ■ 



££ 



-* i 



£ 



££ 



i , i 

m j . c m . i 



r * ■ i 



1-5324-64 



36 



Tremolo all except eighth notes. 

n n 



Annie Laurie 

Third Pos. 



Uf^ 



Sfrr i nim 



SE 



W 



me 



&-*- 



m 



ZZX 






£#% 



§ 



rrtir 



*** 



All down stroke. 
4thStg._, 3rdStg - 



Scale in A Major 

Fourth Pos. 

1st Stg 

2ndStg , M -g-.f fL'ttm. 



nn 



i§* 



¥? F^ 



¥ 



Pi 



f 



2 13 4 1 2341 2341 234 



4th Stg._, 



3rd Stg. 



2nd Stg. 



m 



Scale in Bl? Major 

Fifth Pos. 

1st Stg 

3 A ±£ * 



fe§ 



QE 



P 



* 



? 



£ 



2341 2341 2341 234 



4th Stg 



3rd Stg. 



2nd Stg. 



Scale in C Major 

Sixth Pos. 
1st Stg. _ 



—I 



m 






m 



SEgEg 



¥ 



m 



23412341 2341 234 



% 



4th Stg, 



3rd Stg. 



Scale in D Major 

Seventh Pos. 

1st Stg 

2nd Stg _^ -0-P-^ P 



^e 



te 



^ 



«J 23412341-2341 234 

On the Tenor-Banjo the positions are used chiefly on the 1st and 2nd Strings, as shown in the following 
exercise. 



1st Pos 




THJ 4 4 1 4 1 2 3~~4 1 4 3 2 I 2 ? 2 2 I 3" 



H UM^ 



3rd Pos. 



1st Pos. 

f P 



n | .ffffffff | ^ff 




4 1 3 4 3 4 1 



1st Pos. 



^3 



12321231 4 1 3 1 



3rdPos.. 



1 rfff i tf ff r rr^s CtHi 



i£i 



2121 TTTTTno 



15324-64 



Scale Exercises 

for daily practice 



37. 



Encircled figures indicate Strings 2 4 * 3 2 



1 4 3 2 1 4 3 2 1 




1 



^ 




pet 





r M OJJ- | f^ 



pm 




i 



t 




ijjJLf^ 1 » A 1 ® , , 1 . . 



frff i rJT 



2102 





4=2 



® 
4 1 



2 3 





* 



i 3 i 



1 ® 

1 4 3 4 a 



i»-:!»-i* 



m 



4 2 3 4 



fci=* 



i 4 1 -i. 2 

1 • ! ^-_JL 





^ 





n ^ - n n A 



n_n n a 



A " A „ A n 



An^J A n^ 



A 



n A m A n 

BK |M— . K _ 




1 3 



£ 




f fi» . fi»f ff 



3 ! 



UMH£ ^^^ 




® 
The method of stroking in No. 4 exercisers often required for obtaining the proper accent. 

15324-64 



38 



Transposing 



When reading from Sangs as published for Voice and Piano it is necessary to transpose the part an oc- 
tave higher than written. This rule also applies to certain strains in first Violin parts as written for or- 
chestra. The small notes in the following exercise indicates the notes to be played on the Tenor- Banjo. It 
is well for the Student to think of the letters in transposing. 



Old Folks At Home 



Play upper notes. 



* 



£** 



35: 



f#f ♦ 



M 



1=3 



* 



$ 



-&- 



+~m- 



#i#§ 



W^f f 



* -L* 



f #f + 



i 



m 



«-* 



m 



* 



F 



Melody as written for Voice. 



£^ 



22: 



ft r i r r 



f 



p 



a • 



r ir' vH4±3 ej 



&-*- 



f ir * i 



& « 



As played on Tenor-Banjo. 

# 1©- 



k 



5 



a 



i 



42 • £ M & a 



i 



-fS>- «■ 



-(9- #- 



:^ A 



f i f mir rf 



£• 



fe£ 



m 



Skaters Waltz, as written for Violin. 



* 



m 



m 



3 



^• ■ ij'j.y. ' i 'i 



a ■ c ■ & ± 



g * i a= * iza 



• zf 



As played on Tenor-Banjo. 



i 



* 



3 



*=£ 



P 



1 |f r lf | [»[[»• 1 J- iJjJui 



tS8lt-6* 



39 



Exercise in Arpeggios 



All down Strokes 



2 * 2 



Moderato , !.♦ Eft-i i 2 i-£ 

, rrj? rf Jf i £f£r r r ; - 1 rrflfffi 



WOHLFAHRT 



£ A i 3 . 3 i i I*, 



iUrV* 74 



3 4 





iHH 



s=* 



^ 



if-— - , —i o 



m 



tpts 



^p 



C^ i jT^rgfijjp 



2 



3 



£ % i !££££ £i * 3 , *lILe 

f-^-'f-Ff-f-h FPjl j -lFFF 




im 



a 



sis 



i*l-^-. * 4 eft**- 



* 






0L-± 



m 



g a ■ g 



1 




«£t#e 




* 



o ;s. 



■4 ~ : - 



pi 



3P 



* 




<fcat 



o • 



pit 



P 



>A:z :- ^f i 23 4 



4 *. 



#— ; — 3- 



i 



^^ 



^ 

* 



if rrr r j P]ijj^i 



^4ii£ 



rTT3 rC 



TJ — •» ^L 



I 







4 3 



4 ♦ £ 



1 2 3 



^ 



IX/j I I I 



IP 



Jff £94 - <y# 



40 



Exercise in Various Forms of Stroking 



These should be practiced until each one is memorized 

n nAnn A 



n nAnn A * nAnn a n nAnn A n 

■0- '40 it "&L #" ^ 2 -A- -#_ M. M. A. M-. 0~ 



w m 



g= r~~ m. 



n 

£■ n 



^1 



as 



■ wzzm 



^Pi 



:*=* 



EF^ 



9—0- 



vri 



r~* 



LJ T 



n n An n 



■ZZK 



nnAnn nnAnn n_ n 

, n : — 



31 



£ 



^ 



^ 



- » »— » — »- 



r 



* i^ 



T 



n A n n^ A n A 



Wl 



^^^T^^iil n A n n^ A n A 

■^■-■=fc-»- » ■ r- 9-9-9-W^ 9-9— V-9- 

:___^:_z:_:izc:i[:izt:E:t:t 



n A n n^ A n A 



n n 

n 



m 



^-»-t 



*=*e 



•-P-* 



*- 



11Z111Z1 nAnnAnnA nAnnAnnA n 

— ■-■£■ f 1 ^- ■— ■— •— ■#- -m- •«- ♦ it- it- •#- •#- &&£-£■■£-€-■&■& T L 



9ZZKZW. 



« 



»— »■ 



»— *-» 



n n 

&■ n 



^ 



E=K 



p — -9 z 



tlLTZL 



pl=^£ 



" "■ J "■ i nnnnA nnnnA n 
fL fL fL ±. fL it + 0- it 0- *.*-*-*-*- e 



> — m 



t— r 



9 * 



■9 



9 9 



nAnn n A 



it 40 it ♦"#• 0- 40 nA nn^ n A n A n n^ n A n 



■=■ 



*=tt 



y=>- » — 




n 
n ^ 



fflP 11 



I 



EZBZIK 



CI v 



-/55^# - 64 



Allegro 



* 3 4 A 

2 4t ♦ $L 1 



^^ 



All The Rage 

One Step 
i i i 3 



£ 






1 



£ 



41 



LEO CATLIN 



fe§ 



-y— a- 



. * #• n A- 2.A " g.jj _ ♦ 




£ 



£ 



^ 



fei 



£1 



!^i 



» 



1. 

I 



2. 



* "ft £#£ 



i 



7 rn 



5- n n ■ #- 



m 



um 



— IP ■#- m ^ ii _^. w; • H !^.H^iiQ 



^^ 



2 H''if 



/ 



ff # * 



* «1 



5 n A n n 



fe2 



/£Tip Jhi 



s 



g - ^ i ^^r^~g^ 



t 



n n 



i 



Fine. 



TRIO 



fi 



?// 



7 



E'frg jEg jgV £ f 



i^fei^ 



;£#;* + I'lffM 



1,111 



2. 



£* 



* 



I V 7 7 



D.S.al Fine. 



i 



Allegro Arkansas Traveller 






1 ^f* 



££§ 



/ 



2nd.Pos. 



w 



m * 



13 i lii » ITT 



i 



* 




3 2 




£ 



o — 




*- #♦.<* 



Hife 



i 



3rd Pos. 



n .\ nj A 



*e#§ 



Q A 2 A 



1st Pos. 

5 A .n J?^ 



m 



/ 







«rrf i ffrfff-f if^ffff 



#ii 



15324-64 




rr 




£ f 




^ 



42 



The Maid On The Green 

Contra Dance 



Alleg 



ro 



i * 2 n „ n_ n A n _ _ ' m f A 

"A " A n « a n 



B 



fa fi.f £££ g 





■ ■ 



a 



/ 



i 



fe 



e e 



^ 



fe 



ii 



2 1 2 



j ffffff i ffff 1 



# ♦ #• #■ 



Pffp- r 



»t1 



j*i LLf!fj-|£M 



§£ £ £ £ £ £ £ 

=1 



£ 



jti E±f r r i Q.I 



a 



yit£f r ni^Qrlfrr 



£ 



n n A 




ryn A 

0L. 




^m- + 1 n A 



■ ■ 



£ 



i> 




' ) f f f <* r 




/»> fcd 8 f 1 1 r J iifeE 



ig 



i^ 



i5A2# - 64 



I 



fete 



fife 



>" # if 



Minnetta 

Caprice 



" A 



43 

G.L.LANSING 

An a n A 



r up if^f/f J, 



S 



% 



fc* 



£ £ 



zc 



*• ^. «■• 2 / ^£' AHA n # **£ 



^,> r ^etarfifr rf | ffmf ,r r 



P 



g 2 " 2 1» f fr 




I 



sr 



f r r if 



% 



** 



n A ^JJ A 



jt n n/ ^£ 1= n 



4E 



3-*_ 



3 # i#- 



fcfe 



i 



gfe^ 



# 



1 



^=£ 



*£ 



It ■£ *. + 



- . n 



ir"27 



i 



i i » ^ 






£££ 



1 f-Lf Lt f r£ d 



Jiei 




*> 



# 



f TVfT r'Hr i r'/ te f'jr rT i 1 1 ^ = 



. r* _ r # 



// . .-. <? 



iif-ff 






g te f I f_jg 



^ 



15324-64 



44 



Valse de Concert 



LEO CATLIN 



Tremolo upper note only in chords. 

n n 



n =f 



\ 



t 



m 



*-€> 



m 



>f 



$ 



^9- 



-&6 



ZL 



42 



-3-6 



w 



9^- 



«-»- 



IT* 



5=^£ 



4/2_ 



#■ -0- 



f , f f j 



-I 2 -' 



&-=- 



2z: 



» 



*9- 



-«•• 



cresc. 



%E&- 



m 



Gh±- 



1. 

-|9-' 



21 



I 



irr 



fe 



Fine. 



l #- ■•- 2 i 1 19-19- 



z k i : 



i 



^ 



r 1 I m 



■0- # 



te 



<fe lj[ 



4o *£: 



Z 



r 



n A n n 



i g, n g 9 a , P 

P P r " r 



±4= 



h n 



A „n 



* 



^P 



«-» 



sc 



n A 



r ,? i f r r i .fe ^g 



£ 



^* 



3-S^- 



zz: 



D.C.alFine. 



15324-64 



Country Dance 



45 

SI. STEBBINS 



Moderato 

A n 



W- A " A 



a 



-#- £" £ 1^* £ £" 



^ 



HE 



3 



/ 



fr . r r r ? i 



^ 



# 



♦ ^ ?_• * ?<> 



i. 



^ 



^ 



# .. ♦. Jt .#. 



■rr-rr-r 



# — * 



rj. a 



P 



» 7 : 



m, 



/ 



> r CJT" 



m 






#^H* 




* 



■» r r rrrrr 



". n n A n. A 3 



Air 




^ 



— 



*=£ 



XT an . a . 



n n^J"i n A 
■ _ • 



t 2 n^_-Pi A pi n 



iS 



r r ' ' i 



TRIO 



P -^£. 



/* 



in 



?i2 . 4 3 



Loil" 



Ec rm 




$ 



^ 



-« 



/* 



i i f i r i r^r r- r r riuj m~r f^if r ff ir>riTr f'=fc 


ft j p j [» iri i jr i i ; 1 —mi ■ri-i i ■! i jy 



m 



■K. 



-0-' P--0' # -#■• 

r H §1 y 



bs 



/* 



iL 



3 



■#**- 



PP^ 



£ 



3C^I 



ss 



ff*' 



Ann 






15324-64 



46 



Honey Dew 

March and One Step 



G. L. LANSING 



s 



> # mmP- m #- 



m F i firf i F^fiff mm \ f m 



rfrr jlP? 



ff 



% ff|f»rff|r»g 



?■=« 



feg 



f i rrrf i f'f i ff ^ 



^ 



ftttcf|gff # m +£ m g Q # _. 



liH 



fc 




nr 



I 



inr 



gi 



i 



i 



n 2 £ 



^ % r r^rn rJfe 



/ 



m 



»=B 



# #- 



fe§=a 



1 



J v r 



2 



£ 



Zg 1 J> 



$ 



jflff | f F | f ee^I 



m 



TRIO: 



J> 



S-lff s 



Ffff , f fy . ff f r.ff* r ff . fff fe * 



n 



efc 






# «- 



:l 



ft C - := eS -■♦ ft # :- ft #- 

Ff f i t, if Li I P I f 



1 L - T i > =P=% 



it^ i? 



rffr . fi 



7 P 7 



s _, ^ 



fe* 



/*; 



15324-64 



The Fascinator 

Waltz 



47 
LEO CATLIN 



da 



I 



£M 



■(»•• 



p Up , p , p 



I 



*»/ 



£= 



£• ^<su 



42- 



<9V 



• ,*f r ~j t r 



Vz.. ■(©■• ■#■ 



te=EEEi 



■•■ £ 



fel 



? 



Fine. ^ 



i , Ynf^^^ff i ffT r ' r r 



*^M" 



/ 



J,L fffff^f^fff^ f , f f 



£ e . ♦ & '♦ 



fefefe 



n A 



r r ir^r i P 



tic 



e 



^ 



i 



-s*- 1 - 



p 



m 



m 



i 



fS^r 



ZZT 



^ 



i 



^ — -&- 



tfc 



=1 






fc§ 



35: :- tf. 



fe 



i 



2=fc 



• JK 



:- e .£ 



:£ 



^S 



i>. Cat Fine. 



l£324-64 



48 



Solo Banjo 



2nd Banjo 



i 



# 



m 



i 



Enterprise March 



m 



G.L.LANSING 



/ 



m ^ 



TT 



¥ 



fca $ 



IS 



=F = ^ 



m 



*/ 



g g 



^£3 



^ 



g=g 



*F 



g 



^ 



^^^ 



P 



£ 



P^ 



& 



^ 



^ 



^ 



^ 



Mi 



^ 



i 



:c :e 



^ 

^ 



P^ 



^ 



* 



CT 



# 



£ 



-ii 1 , Lf i i 



h 



& 



m 



& 



j j cj 



^ 



«P^ 



^ 



p* 



* 



# 



§i£l 



p » 



^ 




^ 



* 



/ 



I 



P 



P 



S 



I 



#§ 



* 



gj P 






-p p- 



=*=# 



il 



fe£ 



Mt 



s 






^ 



i 






f- l $L 



C 



15324-6 { 






=i 



"TTIIar 



:1 



g 



j)-^ i : 1 1 



i^ 



^ 



* 



* 



* 



TRIO 

* 4 



m 



p-ff. 



te 



e 



v 



i 



e£ 



4 



^ 



i 



49 



C^'^cJ 



P 



* 



^ 



A 



3i±. 



I 



A 



a#- 






P 



i 



i 



P 

#: 

fe 



P 



A .* 






* 



• 9- 



£ 



Ej jj ' j ft j j -i i u ^ \ y tX^~V & "g 



$ 



^ 



• y-p- 



££ 



fe^# 



i 



I — ^ 



^P 



i» 



# 



* 



£ 



^ 



* 



te 



!^ 



Fine. 



is- 



■i#. 



^* 



V 



// 



±a: 



^ 



[J Bg p 



P^ 



t 



:« L£fu 



fe 






te *e # te 



fte 



Z2I 



^^ 



*=? 



^ 



tr=i 



m 



?^^ 



* 



^ 



ss 



M Si 



m 



M£ 



* 



? 



i 



ISi 



g 



gp 



/>. S. a l Fine. 



1 



ir>324-64 



50 



Banjoists' Delight 

March 



n 6 n 

i 2 ii 2 



n n n 



2 3 i 



CATLIN 



P r p 1 1 p 



3 .9 3 



2 1 2 



yy f i f ff F i f =^ 



1 2 



s 



/ 



1st Pos. 



3 i 



MM .LEJ i fff f . f fFf . f'iTi i 



i 






Ann 

£#£ fit 



3 n n 



^^ 



3rd Pos. 

■— 3 



2 3 2 



3 i 



8 f fffif»Hhf f'fiff 



1st Pos. 

i 5 



u m vt 



*te 



4= 



_ 



tef 



! f , ffff | ffff | f«yfir | f t yft 



«. «. 



£ * £ 



ft 



H 



fc 



i 



L 1 2 




fi 



*. ^ 



11=1 



H^=p 



m, 



*f 




4 



=H£i 



3 2 O' 






n n 



7^7 



/ 



* 



A " 



1 3.4* 



J=E= J 



♦ # 



*W 




i 



i** 



g^ 



f i fr iWf i r,^ 



i» 



4^3 



4th Pos. 



flff iffff 



* ^ .a j 



i 



"lrr 



S 



a 



15324-64 



51 



Old Mose And His Banjo 



Lazily 

n A 



a. L.LANSING 



n n 



Si 



:ezze 



n £ A 




■—■#■■—■•■ *-r- — tf -— .-:r 



ft — ft-ft 



n 
n # A 



£■ ftte£l|i-. # *J*: 



bzzezb: 



P — ft 



7/2 



•/ 



t£^ 


^fi 


ft n " A #2 "^ A" a , 


n 

9 : ift 


A 


n n 

t •_ . 

"m'0 ' 


AH- A 
ft *-'2_-n^ A n A 


4m 


• CJ 




• 



l» 




•— * — •— •— — 



"nn"A " A " A 5 ' "jil 
£• £ g" £ i»~ . r 1 ^" r 1 g: ^-p* r" 



=ZZf~i KZZft — 

J — p — p — I" 1 ■ 



§;ii §i*£te 



*fe 



# 



I 



. Iin« A ■ i 2 n 



ft— ft 



A n A 



£=* 



I 



n n a * 4 n nn 

4 £::ft :£ jf: n £ A £ # • 



1^11 



it 



ft- £i A 



£.£ £# 



H ,A PI fl 



A n 

ft. ' 



•-•• 



3 "V A 



3ZK 



ft ft 



ft £* * 



ft-ft 



ft-ft 



g| 



££.£*.£ £££»"4f§£ 



• ft — ■ — * 



31ft 



ft ft 



iW. 



»/ 



i 



ft. * n ft A 

T ft r 



iteftte 



Itft. B. £- £ " £ ' £ " "^ A ^. A 



^ 



ft~ — ■ 




/££££ - 64 



52 



March Militaire 



G.L.LANSING 



mm 



P=r=% 



4JL l#-l# 1 



H^*f | 1: r ' Fp=f 



*fe t- im 



1 



t 



i£fe 



1 



mf 



| y a |rih » '^M. "f ' l ' f — |E 



r*5ii.n 



ej^r.r ff § 



i 



i=i 




*i»- 



rff, ?£ *£ 



fe^g 



3 #- 2-#- 3 



® 



£ 



IfcB 



ftfy 



t 



# 



* i fp j 



£ii 



1^1=1 



£ ^ 



£ 



I 



JL* 



*=£ 




s 



4-1 



£ 



£ ti r £ 



:E 



| 1 f *f | 



» 



2i > r . !■ 



^MhJ 


^-rf f i f : l rf i f r r r > r ■ t— Hf - i F „ '> f-h 


#= 


^ — l^j — -• — j — ^— — ^j— — •— ^ — — j- — — j- — j— 

■ ■ 



* 



E ft-»v. 




J£=T^ 



■=3CJ*B 



a 



5 



g^g5 



fe=l 



mf\ 



n n 



b 



"3 l » "* * I £ * * d - 
^-m- 1 r-m~. £ ■ . 



5 



1_* 



TRIO 



?'T T 'f 



^fT ' T-f ?■ 



r^r 



r 



^ 



* «E4gg 4 v l 7 . j 4'4v 



1 ■ 



b 



m 



i 



au 



f ^r'^ ' r— r ? " 7 f f r 






b 



rr 



2. 



*■ yg: *- g ; 7 I 7 _ g 

* m m -m i m ■ ra — ■— 



r>-i f -ry i ^|/yinr — 'i-r'Eia^ 



15324- 64 



44 



Air from II Trovatore" 



53 
VERDI 



BANJO 



PIANO 



pi 



Largo 



£ 



P 



fe 



s 



p 



-. — 9 _. _: =. J. 9 _— : 



ffi 



* 



$ 



* 



i 



4 



£ 



£ 



m* 



r f r I 



4 



fpfg jjij^ 



jjjjj Jjijj 



^ 



* 



£ 



J 



,11 — 



*.' :z£it 



i=^E# 



# 




g 5 **^ 



f , r Ff F 



^ 



= 7 I I I I I / I I I I - Z 

: ~^rd^— : — -._L*_— : 

3 3 3 3 






a 



* 



£ 



4=4 



I 



5u . 







;l 



3 1 *- *^ W"*" *» 



sa 



* 



it "•"* 9 # 



I 



SSfl^ 



/5A24 - (?^ 



|3 






54 



jjjj 



u 



Hi 




WZ-t 



i 



i 



j> .. « _ a 



£ 



/T\ 



5* "WtJif J 




m 






7 7 



5*T*3 



"T? 



31 



k^> 



5 *y ,■ 5== 5 



b 



o\ 



^^a 



P i Qf ff tfffirffr rfpf|f 



* . 5 



*-r~-^T 



gferg *§ eES g^g H 



p ^ ^ 



**■ "•"* *^r • 



s 



^^ 



? 



m 



i=i 



:£ 



? * * 3* 



f f . r'f 



:£ 




^H 



4 



5 



fi 7 ^n. 7 ii 7 H 



j. j. ^a V ±== \ 



j=^=j 



f^i; 



3 



* 



N^^i 



^^:! 



v .^y 



I* 



*fN# 






:£ 



i£ 



:fc 



Jt ff 5 



m^H^ £f 



/ 



^3 






i|^§= 



¥^«^f^ 



ir*: J~*r 



as 4' i * 



i k=— k 



■y f) v 



E 



•> _ ^=^ 



gal 



i£&34 - <J4 



55 



I 



*^E 






f J 'f if 'r 



£ 



3 



£±M 



y^-y- 



*3 



ii 'nfl& i j 



^=3F 



a t i j ^ p 






fe 



m 



1 _ ^¥ 



s 



ifczlJS 



T 



w 



i 



5 ^. ■- 



^^ 



3 k 



%t- 3 %\% ^ t- 



:£ 



•£ 



l iff frrrf m rf 



/ — — = 



dim. 
3 5 ^ 



a / ■ ![ 



^ 



^FIF 



f I J F3==1F1: 



/ 



¥^^^ 



t===b 






§ v h y J) i J) is 



7 _ ^=¥ 



f 



* * 



*^E 



■h 



3 ± :~ 



-r f ■ r ' f 



lies 



Eff 7 ^ 



.? 



*33E* 



felElE? 



I I ^f 1 =^1 



J=±=J 






1=1 



J=1 



P 



i ^ v • — 



# 



^ 



* 



- 3 - : F=^ 



7 _ ^F^ 



T 



? 



A ■» 



3 £#«: * ^*** #T^a !♦ 



ipfe£ 



it 



£ 



:fc 



* * * * 



: ^^ 



♦ * 



^m 



f 



3 



3 



dim. 
3 3 



3^ 



&* 



I^IF 



1 1 I ^^FIF^JFJ 



*El f^N ^ 



dim. 



F 



"? J) V J' j =j*=^ 



i 



/5J^^ - 54 



56 



Sextet 

"Lucia di LamInermoor ,, 



DONIZETTI 



Larghetto 



BAN7Q 



PIANO 




t ! 



* ■ m 



§ 




m 



>/ 



gg | j > | 



1 



If^f 



3=5 



3=S£ 



P 



7 



Kr! 



3==£ 



i 



«=£ 



i 



^ 




m 



t 
? 



grcj^T 



i 



JTO ^ 



7 




f 



* v 



fg J) 7 * P^ 



f 



3=E? 



EE 



= r^— ? — . b 




i55^^ - 0^ 



57 




fc* 



i 



=? 



= U^ AlJ ^ 



^^ 



1 



^g 




Lf r f 



**'f 



?F 



= w 



~zz P • _ P 

F 'F 



S=f 



') r ! 



3eee$ 



¥ *f— f f , LJ I f tt£f £ ^ > # 



^ 



£ 



cresc. 



a 



f 






i?§ 




^5 



S 




P* 



?»|fe^ 



Ifl'f'F 

_ cresc. 



f 



f 



#* 



E? 



* 



I 



5EEE£ 



# 



15324-64 



58 




U 



glUi 



■m m 



ft* 



S 




if 



*W+T+ 



iiliiiit 



*m-* 



& 



s 



5^ 



& 



& 



s 



t ■# # 
J) 7 i 



iS.?^ - 64 



*4 



i 




IIIIIHII 



7 J) 7 



P=£ 



i^i^ipi 



■» « »-*i 



-"»7-"» » » » » » » Z*~_* 



^ 



5^ 



j in 



g 



==* 



=: 3 •*■ 



a 



« 



Ht£l 



Hl^ 



!£ 



H= 



IS 



/ : 



^ jflri I 



=3t 



P* 



WW* 



tt 



*T± 



±W±W 



* ** 



a* 



32 



Tempo I 



mf 



cr i tJf^r i ff ftrif fC^ 



tit 



jij73f^ 



s 



c\ 



3 



m 



^ 



^ ' 



g— £ 



^dr # 






( 



^ 



/ 



W 4> y 



£ 



a: 



a 



*-— r 



n\ 



S 



5 



52- 



ifa=F^ 



&te 






i e 



-trrj^.rFir ^ 



fa* 



i^ 






allarg. 



fi 



ai 



S 



/C\ 



// 



? 



allarg. 



c — 



****** 



/T\ 



.G 



// 



f 



/ft 



i£5,3# - 64 



60 



Jazzing 



The term "jazz" as applied to banjo playing is, to use the chords with or without the melody ac- 
cording to the ability of the performer, ragging them when possible. 

Some players have the faculty of anticipating chord sequences and obtain marked effects in 
this respect. However, when one has to depend, on reading, the chords (without the melody) can be 
read from the second violin part, transposing the notes an octave higher than written as in the fol- 
lowing exercises. 

Waltz 



2nd 
Violin 



Tenor 
Banjo 



5 



g ■ ! 1 



^ 



¥=§ 



# 0- 



% 



% 



^m 




^p^ 



^^ 



a a 



l=f 



One Step 



2nd 
Violin 



Tenor 
Banjo 



^§ 



fc 



-» — -s=£ 



p l l y [ } 



n A n n 



gtf^ 



i 



f 



15324 - <J# 



Fox Trot 



61 



2nd 
Violin 



Tenor 
Banjo 



m 



* 



s 



XT 



XT 



m 



— 



-o^ 



I 



x*^ 



£ 



* 



& 



^^ 



^EEE^I 



351 



P 



^ # ll Mtf > p 



-&- 



P r f i 



^s 



The pupil should memorize the chords in the various keys, thereby enabling him to add one and 
sometimes two notes to obtain full harmony. 

Examples 



2nd 
Violin 



Tenor 
Banjo 



$=£ 



* Tii i 



¥ 



£Eg=^ 



a =3 



■ zzaziazzai 



tr^t 



n .A n n 



i 



4 — ? 



y *■ ir 



*E 



S 



$ 



2nd 
Violin 



Tenor 
Banjo 




f . m 



^ mm m — f 



a_j? 



"3T "T 



n A n 






1^t 



m 



Jazzing or Ragtime 



2nd 
Violin 



Tenor 
Banjo 



4p ^ « 



* 



^ 



SEE* 



* * £ 

nA nA nA 



~W "9 



n A 



«- *- 



n 






:£: — ■ KZ 

^ ? JT" > * ^ 



? } 



15324-64 



62 



One Step 
Simple Form 



1st Violin 
or 1st T. Banjo 



2nd Violin 



Tenor Banjo 



jh. r r r r \ 


c_Ti ) 


trr r 


! rTf 


Ifffn 


\J4 <>. . — rr-i 


•-a 


v •* 


*-*-... 

V V 


^ <^^ m 


ft) a — 7,7,— 


p — p ' 


I 1 

p p 
7 » 7 • 


' LP ' 


f f 

• • 

p p— 

1 f •— 



*=£*- 



^A 



m 



^m 



* 



f^§ 



a — ■ 



1* 



I W ■ «_ 



F— 1* 



1 



S 



3 



•—r 



The same with Banjo part augmented 



1st Violin 
or 1st T. Banjo 



2nd Violin 



Tenor Banjo 



intm 



Wm 



* 



n A n A n 



0-0 1 0-^0 1 



^ 



Pf 



n A n 






^ 



•p- 



^M 



Iff 



MZZJK 



H 



£ 






* 



1. 



i=£* 



P^* 



£^ 



feE# 



i 



P^ 



i 



■=* 






i|» * a 



1* — IF 



* 



tt 




i 



JL 



» — 



£ 



15324-64 



63 



My Old Kentucky Home 
with Jazz effects 



nA nA nA nA n n A nA nA n Q H 



nA nA n 1 £ 4 2 • 2 • 2 A n n 
^ ■f- '~"» :~ ~s»""S r., z — F - ^ T* 

_K= _PZ a- ^^t Ca =Z±= 




9 P 



• P— P 



* 



* £■ £ *- 



^ft l/ 8 t-fe 



9 P 



• P 



» # 



#-#■#■■•>■•> 



» « 




uuu 



P P 



m 



*+ #. ■ 2 . A n A n 
g: « p FTO= 



f 




<D 



i 



nAn'A 



" A n A 



:ii :t 



4* 



P— — P 



-• •! 



it* — *~ 


p 




*-. — 


w r 4 - 





• 

0—f f 


• 


1 


• 





^=^ 

s 


p 

s -1 


p ^^ 




i 


• =i 


w 

f 1 




w 



1 

" « 


* 


» 



I 



&. m. 



m * 



f j I g | | jl 

- p » 1 » — , p 




eee; 



is 



^ 



# — >\\ 




16324-64 



64 



INDEX 



3 Elements of Music 

Staff, Notes and Rests : . • . 

4 Dotted Notes and Rests 

The Clef 

5 Time, Measure and Bar . ^ . 

Accidentals 

The Scale 

6 Different Kinds of Scales: Major and Minor . . 

7 The Chromatic Scale ......... 

Miscellaneous Characters '. 

8 Ornaments. . . . . . ■ . . . ; 

Appoggiaturas and the Turn 

9 The Trill ■ 

10 Tremolo, Arpeggios and Other Signs 

11 The Tenor Banjo 

The Strings and Bridge. . . ; 

The Open Strings 

Tuning 

12 Diagram of the Tenor Banjo Fingerhoard .... 

Holding the Instrument . 

Method of Using the Plectrum (or Pick) . . . 

13 Stroke Exercises '. 

Notes on the 4th, 3rd, 2nd and 1st Strings .... 
Etude 

14 Scale in C Major 

Chords in C Major .......... 

Scale Exertises . . . 

15 Melody Exercises Leading to Tremolo 

16 The Tremolo or Sustained Tone 

Tremolo Exercises, Example and Etude . . 

17 Scale in A Minor and Etude ..... 
Scale in G Major and Chords. . . . . ... 

18 Melody Exercises in G Major 

Waltz 

19 March or Two-Step . 

One- Step 

20 Scale in E Minor and Etude . 

La Vague (Waltz) 0. Metra 

21 Signs used in Abbreviating 

Pox Trot . . . 

Easy Syncopation .- , 

22 Scale in D Major, with Exercise and Etude . . 
Rosalie Waltz 

51 Old Mose and His Banjo . 



23 Scale in B Minor . 

Fascination (Fox Trot) 

24 Scale, in F Major and Exercise 

Melody with Chords 

Scale in D Minor and Chords 

25 Scale in A Major, with Chords and Etude .... 

Scale in Ffr Minor and Chords 

Scale in B\> Major and Chords 

Waltz Czibulka 

26 The Chromatic Scale and Etude 

Dance Caprice. • • 

27 Study in Chords 

Syncopation Study . 

28 Scales in G Minor, El> Major, C Minor, Ab Major, 

D\> Major, E Major, and Chords . 

29 The Cadet's Dream. G. L. Lansing 

Ragtime Exercise . 

30 Escort (March or One Step) , . .G. L. Lansing 

31 Examples in Syncopation and Etude 

Chord Study . . . . . . . . . . 

32 The Invincible Rag . . . - . . . .Leo Catlin 

33 Studies in Triplets .......' 

34 Exercises in Gliding and Etude 

35 The Positions 

The Second Position, with Exercise and Melody. 
Third Position and Etude. 

36 Annie Laurie Old Scotch Air 

Scales in A, Bb, C and D Major 

37 Scale Exercises for Daily Practice 

38 Transposing 

Old Folks at Home (Swanee River) Stephen C.Foster 

39 Exercises in Arpeggios .Wohlfahrt 

40 Stroking Exereises i ■-'•■• 

41 All the Rage (One Step) . . ... Leo Catlin 
Arkansas Traveler 

42 The Maid on the Green (Contra Dance) . . . 

43 Minnetta (Caprice) . . . . G.L.Lansing 

44 Valse de Concert . . . Leo Catlin 

45 Country Dance Si. Stebbins 

46 Honey Dew (March and One Step) . . G. L.Lansing 

47 The Fascinator (Waltz) Leo Catlin 



48 Enterprise March (2 Banjos) . 

50 Banjoists' Delight 

. . . . . G. L.Lansing 



G. L. Lansing 
Leo Catlin 



52 March Militaire . . . . . . . G; L.Lansing 

53 Air from"H Trovatore" (with Piano Ace.) Verdi 

56 Sextet from" Lucia di Lammermoor" (with Piano Ace). Donizetti 

60 Addenda (Jazzing) _ , . . . . . ... 



15324-64 



' 



MASTERLY SELF- INSTRUCTORS 

FOR VARIOUS STRINGED INSTRUMENTS AND THE SAXOPHONE 

Publisher" s Hote: — The following self-instructors are works by well-known authorities on their 
respective instruments. For those desirous of a complete course of study, with numerous recrea- 
tions, these methods will be found thoroughly practical. 

The editions are superb examples of the publisher's art. The books are Master in name and Masterly 
in contents. 



Master Instructor for the Tenor- Banjo 

George L. Lansing Price, $1.00 

In addition to careful instruction the author has pre- 
sented the latest system of stroking, thus giving the 
proper accentuation, which is essential in the playing of 
present day dance music. The signs introduced in the 
latest authentic methods are also used. The book also 
contains a number of pieces for two tenor-banjos, and 
tenor-banjo with piano accompaniment. 

Master Instructor for the Saxophone 

J. W. Lawson Price, $1.00 

Although the saxophone is an instrument easily mas- 
tered, still you require a comprehensive method as an 
instructor. This book contains a complete systematic 
course, designed to develop every detail of technique. 
A large number of melodies, popular and classic, offer 
the finest recreations possible. 

Excelsior Method for the Banjo 
C Notation 

George L. Lansing Price, $0.75 

This work has become very popular. The author 
. presents the instruction so clearly that students become 
proficient in a very brief space of time. In fact, the book 
is the result of many years practical experience as a per- 
former and teacher. There are many recreations which 
interest, amuse, and act as a stimulant. 

Method for the Guitar 

M. Carcassi Price, $2.00 

Revised and enlarged by Walter Jacobs. 
This celebrated work is divided into four parts: — 
elementary study — more advanced study — fifty pro- 
gressive and melodious exercises — concert solos and 
songs. This is a remarkable course of systematic study, 
and presents the entire fund of knowledge required in 
the making of an efficient performer. 



Master Instructor for the Ukulele, 
Banjoluke and Tiple 

George L. Lansing Price, $0.50 

The Ukulele, originally played by the Hawaiians as 
an accompaniment for singing, has been developed by 
leading American teachers and players of die Guitar* and 
Mandolin, until today it is one of the most pleasing 
instruments. When greater volume of tone is desired 
the Banjoluke (constructed like a small banjo) is used. It 
is played the same as the Ukulele. 

Another instrument of the same family is the Tiple, 
noted for its charmingplaintive quality of tone. 



Method for*the Mandolin— Vol. I 

F. de Cristoparo Price, $1.25 

This highly successful method, with its international 
reputation, is so well known that no explanation is 
needed. This edition is published with Italian and 
English text, and is an artistic example of the publisher's 
finest workmanship. 

Method for the Mandolin— Vol. II 

F. de Cristofaro Price, $1.25 

This book is a continuation of the ideas in Vol. I, but 
published with English Text Only. 

Metodo de Mandolina — Vols. I-II 

F. de Crbtofaro Price, each, $1.25 

These books present the same material that is in the 
above editions, but with Spanish Text Only. 



THE WHITESMITH PUBLICATIONS ARE OH SALE AT ALL LEADING MUSIC SHOPS 



WHITE -SMITH MUSIC PUBLISHING COMPANY 

BOSTON NEW YORK CHICAGO 



BOSTON PUBLIC LIBRARY 
RESEARCH LIBRARY SERVICES 



SEAT NO. 



M..^U ,-.f D^coa.^k r :k. 



rrvr ncp 



Boston Public Library 
Central Library, Copley Square 

Division of 
Reference and Research Services 

Music Department 



The Date Due Card in the pocket indi- 
cates the date on or before which this 
book should be returned to the Library. 

Please do not remove cards from this 
pocket. 



FEB 8 1927